Brahms Group Fumbles Challenge Judith Burganger And Friends The Second Installment In An On-going Survey Of Brahms` Chamber Music With Piano. Monday Evening At Florida Atlantic University Theatre, Boca Raton.

December 4, 1985|By Tim Smith, Music Writer

It is frequently said that an area`s cultural richness is in many ways tied to its academic environment. Where there are lively centers of learning, the theory goes, all the arts are inevitably given a boost in the home community.

South Florida has a long way to go on this front, but there are occasional signs that our version of academe is at least living up to its obligation as a magnet for, and promoter of, significant, uncommon musical activity. The University of Miami`s Festival Miami, a showcase for contemporary music, is one such sign; the adventuresome cycle of Brahms` chamber music with piano, undertaken by Florida Atlantic University professor/pianist Judith Burganger, is another.

The second installment in that cycle, which will be spread over the next few years, was presented Monday evening. Burganger chose only two works for the concert, but they made for weighty fare -- the E-flat major Horn Trio, Op. 40, and the G minor Piano Quartet, Op. 25.

The challenges, both technical and interpretive, posed by such a program are considerable. Unfortunately, the six players who joined Burganger for this concert were a mixed lot. The results were mixed as well.

The quartet had the best luck, largely because of Burganger`s remarkable flair for the Brahmsian style. There was a compelling energy, passion and conviction in her playing, coupled with an assured technique that neatly propelled the frequent keyboard flurries. The Hungarian-flavored finale found the pianist in particularly persuasive form, her phrasing and tone vividly colored.

The quartet`s other participants, though certainly sensitive to the music, rarely matched Burganger`s finesse. Nina Gordon, associate principal cellist for the Philharmonic Orchestra of Florida, came closest technically; she also demonstrated an appreciation for a singing line. Debra Spring, associate principal violist for the Philharmonic, and violinist Yuri Treer had difficulty agreeing on pitch and producing a smooth tone.

If Burganger`s rock-solid foundation and forceful spirit helped keep the quartet going strong despite the uneven efforts of her colleagues, there was no corresponding guiding light in the trio.

Aside from a few flubs, pianist Leonid Treer`s playing was poised, but tonally anemic and uninterestingly phrased. A far more substantial base from the keyboard is needed here to support the violin and horn.

David Gray, former principal horn for the London Symphony, short-lived conductor of the Greater Palm Beach Symphony and currently conductor of the University of Miami`s orchestra, handled the horn part with sufficient skill, if not much interpretive warmth or character.

Clearly, Burganger`s commendable salute to Brahms, which will have its next chapter in April, needs more consistent personnel and increased financial support. If such blessings are forthcoming, it could conceivably amount to one of the most rewarding musical ventures in South Florida.